fills with people and priests. Act 3 Scene 1: The Temple of Moloch The priests sacrifice little children to the terrible god and, together with the people, implore his help. Enter Salammbô; she joins the prayers and announces her resolve to go to the barbarian camp to reclaim the veil. Scene 2: Salammbô seduces Mâtho and falls asleep in his arms. Then, while the Carthaginians storm the camp and take Mâtho prisoner, she takes possession of the veil. Act 4 Scene 1: The Dungeon of the Acropolis Mâthos lament. He is being held captive in the dungeons of the Carthaginian Acropolis. Priests and pentarchs sentence him to death. Scene 2: The priestesses clothes Salammbô for the double ceremony, the marriage to Narr'Havas and the execution of Mâtho. During the wedding banquet, Mâtho, martyred to death, falls at the feet of Salammbô, who in turn falls dead over his body. Subsequent use of musical materials Mussorgsky reused much of the music from Salammbô in later works. Nikolay Rimsky-Korsakov gives the following account of thematic borrowing in his memoirs, Chronicle of My Musical Life (1909): During the season of 1866-1867 I became more intimate with Mussorgsky. I used to visit him; he lived with his married brother Filaret, near the Kashin Bridge. He played me many excerpts from his opera Salambo, which greatly delighted me. Then also, I think, he played me his fantasy St. John's Eve, for piano and orchestra, conceived under the influence of the Danse Macabre. Subsequently the music of this fantasy, having undergone many metamorphoses, was utilized as material for A Night on Bald Mountain. He also played me his delightful Jewish choruses: The Rout of Sennacherib and Iisus Navin [Joshua]. The music of the latter was taken by him from Salambo. The theme of this chorus had been overheard by Mussorgsky from Jews who lived in the same house as Mussorgsky and who were celebrating the Feast of the Tabernacles. Mussorgsky also played me the songs which had failed with Balakirev and Cui. Among these were Kalistrat and the beautiful fantasy Night, on a text by Pushkin. The song Kalistrat was a forerunner of the realistic vein which Mussorgsky later made his own; the song Night was representative of that ideal side of his talent which he himself trampled into the mire, though still drawing on its reserve stock in emergency. This reserve stock had been accumulated